Wesleyan University
WesScholar
Division I Faculty Publications
Arts and Humanities
2007
Carmencita: Blok’s Del’mas and Nabokov’s
Shulgina: The Evolution of Eros in Nabokov’s
Work
Priscilla Meyer
Wesleyan University, pmeyer@wesleyan.edu
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Part of the Arts and Humanities Commons
Recommended Citation
Priscilla Meyer. "Carmencita: Blok’s Del’mas and Nabokov’s Shulgina: The Evolution of Eros in Nabokov’s Work" Festschrift for
Alexander Dolinin, on his 60th Birthday. Ed. David Bethea, Lazar Fleishman, Alexander Ospovat. Madison, WI: University of
Wisconsin Press, 2007. 521-538.
This Contribution to Book is brought to you for free and open access by the Arts and Humanities at WesScholar. It has been accepted for inclusion in
Division I Faculty Publications by an authorized administrator of WesScholar. For more information, please contact dschnaidt@wesleyan.edu,
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Carmencita: Blok’s Delmas, Nabokov’s Shulgina
The Evolution of Eros in Nabokov’s Work
“Non sum qualis eram bonae sub Regno Cynarae”
--Horace and Ernest Dowson
Nabokov’s characters Ganin, Humbert Humbert and Van Veen become increasingly
obsessed with their first loves as Nabokov himself moves further from his own in time. He crafts
this theme using the figure of Carmen and the poetry of Alexander Blok, heightening the
distinction between his characters’ helpless fixations and his own commentary on the distortions
nostalgia inflicts.
In Speak, Memory Nabokov implicitly addresses enduring first love when he refers to
Tamara as “my Cynara” (248). The reference is to Christopher Ernest Dowson’s best-known and
much anthologized poem, “Cynara,” published with the title “Non sum Qualis Eram Bonae sub
Regno Cynarae” (I am no more the man I was in the reign of the good Cynara) (1896), written
about the poet’s unrequited love for an eleven year-old waitress named Adelaide.i Philip Healey
summarizes Dowson’s tragedy:
His whole adult life was dominated by an event in 1889, when he met and fell in love with
the eleven-year old daughter of a Polish restaurant owner in London’s West End. Dowson
would eat regularly at the restaurant…just to be in Adelaide’s presence. In 1897, Adelaide,
[then] nineteen years old, rejected Dowson and married a young tailor. Dowson’s love for
the girl child cast a shadow over both his emotional development and his poetry. His life
disintegrated into alcoholism and homelessness until his death from tuberculosis in 1900
at….thirty-two.ii
Dowson’s fate is a caricature of the pain Nabokov continually exorcises with each evocation of
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the theme of a lost first love.
In “Cynara,” Dowson describes his dissolute life, concluding each stanza with “But I was
desolate and sick of an old passion/…/I have been faithful to thee, Cynara! In my fashion,” and
Nabokov uses the name only when he is in Crimea, where he is being regularly unfaithful to his
first love, Valentina Shulgina. Dowson’s title is taken from an ode (carmen) by Horace, “To
Venus,” in which the poet begs the goddess to take pity on his age:
After a long cessation, O Venus, again are you stirring up tumults? Spare me, I beseech
you, I beseech you. I am not the man I was under the dominion of good-natured Cynara.
Forbear, O cruel mother of soft desires, to bend one bordering upon fifty, now too hardened
for soft commands: go, whither the soothing prayers of youths invoke you. (The Fourth
Book of the Odes, I)
By efficiently invoking both poems by the name Cynara in Speak, Memory, Nabokov alludes to
the distance between his own passion at sixteen and his age at the time of writing the memoir.
With a hindsight he knows his readers will share in 1966, Nabokov distinguishes the
autobiographical nostalgia he carefully evokes from Humbert Humbert’s, whose homelessness,
alcoholism and early death caused by the loss of his girl child Lolita echo Dowson’s fate.
The autobiographical nature of Nabokov’s art and the unusual degree to which his art is
motivated by the transformation of his experience has been elegantly formulated by Maria
Malikova and others.iii For Nabokov, the Carmen theme with all its intense personal and literary
associations, particularly Pushkin’s “Gypsies” and Mérimée’s “Carmen” as well as Blok’s cycle
of poems, “Carmen,” evokes memories of his childhood and youth on the Vyra and
Rukavishnikov estates, especially of his first sexual relationship.
Nabokov avers that he knew Bizet’s opera by age ten.iv In Speak, Memory (1966) he
considers eloping with Colette: “Where did I want to take her? Spain? America? The mountains
above Pau? ‘Là-bas, là-bas, dans la montagne,’ as I had heard Carmen sing at the opera” (SM,
150).v The Russian version (Drugie berega, 1954) has “as Carmen sang in the opera [I had]
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recently heard” (kak pela Karmen v nedavno slyshannoi opere) (italics mine, PM).vi The 1966
correction suggests that Nabokov made the Carmen theme less conspicuous and less specific to
Colette after featuring it prominently in Lolita.
Alexander Dolinin remarks that “…the American ditty ‘Carmen,’ rephrased by H.H.,
refers to Blok’s cycle of the same name…”vii Blok’s Carmen cycle only alludes to the
stabbing/shooting of Carmen that take place in “Little Carmen,” Mérimée’s story and
Bizet’s opera. Blok is more fascinated by the passionate intensity of both the gypsy
heroine and the dark-haired mezzo soprano he saw in the role. He dedicated the cycle of
ten poems published in 1914 to the opera singer, Liubov’ Alexandrovna Del’mas. In 1916
Nabokov published his collection, “Poems” (Stikhi), sixty-eight poems written about his
first love, Valentina (“Liusia”) Shulgina, whom he names”Tamara” in Speak, Memory.
The juxtaposition of these two poets’ loves illuminates Nabokov’s erotic history and
highlights the opposition between the two predominant types of his female characters in
Mary, The Real Life of Sebastian Knight, The Gift, Lolita and Ada, the femme fatale and the
faithful helpmeet. In Nabokov’s retrospective portrait of his first love as it appears in
Mary and the autobiographies, he follows a method he describes in Strong Opinions: he
enhances his “remembered image with an added refraction” and provides “informative
links with earlier or later patches of the past” (SO, 143). Blok’s cycle about his love for
“Liuba” Del’mas merges the woman with the role she played in Bizet’s opera; his poems
help to determine Nabokov’s perception of and later depiction of “Liusia” Shulgina.
Nabokov in turn “add[s] a refraction” by adorning the image of Liusia with that of
Carmen as she appears in Bizet’s opera and in Blok’s poetry, a composite which helped
to determine the passionate type of female character in his fiction.
However limited Nabokov’s early appreciation of Blok may have been, the stylistics of his
early poetry support his later claims to have been reading Blok from the ages from ten to
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fifteen.viii “Ever since [my boyhood] I have been passionately fond of Blok’s lyrics.”ix He would
then have read Blok in St. Petersburg literary journals in 1914 when the “Carmen” poems
appeared, the first three in “Musagetes.x Eight of them were published, for the first time with the
full dedication (“Dedicated to Liubov’ Aleksandrovna Del’mas”), in the journal, Liubov’ k trem
apel’sinam (Love of Three Oranges), Nn. 4/5, in 1914. The two that were not included there first
appeared in “Dnevniki pisatelei” (Writers’ Diaries) 1914, N. 2.xi
When Nabokov met Liusia in July of 1915, then, he was already primed with these poetic
associations among Blok, Del’mas and Carmen. Nabokov connects his account of their love in
Speak, Memory, as he does that of his father’s death,xii to the poetry of Alexander Blok.
“Tamara”/Liusia approaches gradually, first as a hypothetical Tamara in chapter eleven, and then
through writing her name on sand, bench, and fence of the Nabokovs’ estate, “as if Mother
Nature were giving me mysterious advance notices of Tamara’s existence” (229), before she
finally appears in person. In these descriptions, as well as the one of the couple’s parting at the
end of chapter twelve, Nabokov associates Blok and gypsy songs. Nabokov first mentions Blok in
describing one of the sources of his first poem, the tsiganskie romansy played on the family
phonograph, which, he writes, “at their best,…were responsible for the works of true poets (I am
thinking especially of Alexander Blok)” (224). He foretells Tamara’s advent also in the context of
gypsy songs; he describes his first poem about the “loss of a beloved mistress—Delia, Tamara or
Lenore—whom I had never lost, never loved, never met but was all set to meet, love, lose” as
derivative of “lyrics of the tsigansky type” (225). Chapter twelve begins by connecting the
impending historical upheavals looming in July 1915 with “the verse of Alexander Blok” (229).
When he meets Tamara by chance on a train in 1917, after they have separated, he connects the
bluish bogs and burning peat to Blok’s description of them: “It can be proved, I think, by
published records, that Alexander Blok was even then noting in his diary the very peat smoke I
saw” (241).
Another (more ambiguous, but telling) mention of gypsies in connection with Tamara
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supports the idea that Nabokov saw Liusia as a kind of Carmen figure. When, after their first
summer together, they return to Petersburg the following winter and haunt the backrooms of the
Russian Museum of Alexander III in search of privacy, the couple finds a room with “repellently
academic paintings” where hangs “‘The Head of a Young Gypsy’ by Harlamov” (235). This is an
oddly gender-neutral translation of Aleksei Alekseevich Kharlamov’s Golova mal’chika-tsigana
which could have easily been translated “Head of a Gypsy Boy.” In Drugie berega Nabokov goes
out of his way to be vague about the title, although in the Russian memoir it is unambiguously
masculine—"’Golovka tsiganenka’ (tochnee ne pomniu).” Possibly in the first version of his
autobiography Nabokov was simply being as accurate as memory allowed, while in the later, far
more crafted version (as Maria Malikova shows, continued below), Nabokov is deliberately
inaccurate, misleading the Anglophone so that he can incorporate Kharlamov’s work into the
Blok-Gypsy-Tamara portrait he constructs there for the first time. Kharlamov painted many
saccharine “heads” (golovki, a genre emphasizing typification over personal portraiture),
including the head of a Mordvinian girl with loose black curls which would have been closer to
the visual reality Nabokov emphasizes, but would have added a second-rate sentimentality to the
portrait he himself was painting. xiii The framing of Tamara’s verbal portrait with the synthesis of
Blok’s poetry and gypsy songs and images suggests that at age sixteen Nabokov saw a parallel
between Liusia and Del’mas. A comparison of their photographs suggests even a physical
resemblance between the two:xiv
DEL’MAS
SHULGINA
[attached; find better jpegs to print from, or print directly from the internet?]
In Speak, Memory Nabokov emphasizes Tamara’s dark-haired allure: “A drop of Tatar or
Circassian blood might have accounted for the slight slant of her merry dark eye
and the duskiness of her blooming cheek” (230); she considers her “rich brown hair” “unruly”
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(231). In Mary, Nabokov gives Liusia’s physical attributes to Mary, whose “Tatar eye” (on one
occasion called flashing) is mentioned three times, and her dark complexion once, suggesting that
these features were an essential part of her attraction for him.xv Tamara/Liusia is exotic—from a
family of lower social standing than the Nabokovs, and untamable—“When I used to tell her we
would marry…she would quietly call me a fool” (231). Her blithe trespassing on and defacing of
the Nabokov property, her ready laughter and snorts of amusement, as well as her apparent
unfaithfulness (her blush on encountering the fellow with the riding crop [232-3]) are in keeping
with Carmen’s wild persona.
The Carmen of Bizet’s opera makes visual Mérimée’s vivacious dark-haired provocative
woman whose flamboyant gypsy nature is the embodiment of eros freed from all social
conventions, particularly of marriage. Delmas’ rendition had a powerful effect on Blok when he
first saw her in the role at the Petersburg Theater of Musical Drama in October 1913.xvi He was so
taken that he saw the opera three times, and finally wrote to her on February 14, 1914:
I inevitably fall in love with you each time you appear on the stage. It is impossible not to
fall in love with you, looking at you, your head, your face, your figure…I am not a boy, I
know that hellish music of love which makes your whole being groan and from which there
is no escape. I think you too well know this, since you know Carmen so well…xvii
In a second letter, Blok asks Delmas to have her picture taken out of costume, with no make up,
in rehearsal dress with a black “dickey” (nagrudnik),xviii and specifies the scenes to photograph,
predominantly with Don Jose, from her throwing him the flower to immediately before he stabs
her “(teeth visible and smile).” Blok is enamoured of Delmas-as-Carmen and of the tragic tale,
from her seduction of Don Jose to her death at his hands. With his third letter (March 26, 1914)
Blok sent “Musagetes” containing his three poems to her; they met on March 28, 1914 and began
an intense affair. His diaries mention their frequent meetings on the street from June 1917 to her
visits in spring 1921.xix
Nabokov would not have known all this in 1916, but he would have known enough from
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Blok’s poems alone to have seen a parallel at the time, which he developed as later knowledge
elaborated it for him--Blok’s diaries and notebooks to which Nabokov refers in Speak, Memory
were first published in 1928 and 1930, respectively. In the poems, the portrait of Liusia, quite
different from the one in Speak,Memory excerpted above, contains a thematic relationship to
Blok’s cycle in addition to the “many banal, beginner’s echoes of Blok” in “lexicon, metrics,
semantics, syntax, and intonation” typical of Nabokov’s poetry of the second half of the 1910s to
the first half of the 1920s mentioned by Dolinin.xx Nabokov at sixteen, seeing himself as a
budding poet, addresses his beloved using the clichés of love poetry of the period--pearly teeth,
fiery eyes, kisses, arms, sunsets, heaven, paradise, stars, moon and roses; but his poems are
further related to Blok’s by Carmen’s role as betrayer and Liusia’s evidently more lighthearted
feelings for her poet.
Nabokovxxi
Love at first sight
Как будто слыша вздох, я тихо обернулся
встретил в первый раз (6)
И…я нашел ее, желанную мою…
Она близка была; я молча улыбнулся
И руки протянул, и понял, что люблю…(470)
Blokxxii
Так я Вас
Betrayal
Я долго жду тебя; рождается страданье,
А голос пел: Ценою
жизни
Мне помнится обман изведанных годов (478)
Ты мне
заплатишь за любовь!
Все та же сказка—любовь, измена…(476)
Ты не могла понять, что неизменным вечно
И песня Ваших
нежных плеч
Хранить в душе твой взор я должен и могу.
Уже до
ужаса знакома.
Девиз твоей любви—мгновенно и беспечно;
И сердцу
суждено беречь,
Моей любви девиз—всю жизнь тебя одну. (482)
Как память об иной
отчизне,
Ваш образ, дорогой
навек…(6)
8
Eyes
Ты—в белой шляпе с огнем в очах—
О страшный час, когда она,
Ко мне прижалась; и все видали (466)
Читая по руке
Цунига,
В глаза Хозе метнла взгляд!
Насмешкой зацветились очи, (4)
Зачем, моя радость, печальны
(9)
Твои дорогие глаза? (467)
В очах, где грусть измен
Curls, roses
Вокруг твоих кудрей алеет
И золото кудрей червоннокрасным
Большой венок прекрасных роз. (483)
И голос-рокотом
забытых бурь. (3)
Вздыхаю мед последних алых роз (476)
этих роз,
Это
Это
Это
(7)
Розы - страшен мне цвет
- рыжая ночь твоих кос?
- музыка тайных измен?
- сердце в плену у Кармен?
Figure
Твой белый стан за розовой полянкой
созвучий
Исчез, мелкнул и скрылся навсегда (475)
певучий (5)
Он средь бушующих
Глядит на стан ее
Да, всё равно мне будет сниться
Твой стан, твой огневой! (9)
Pearly smile
До боли ясна жемчужная улыбка (486-7)
Насмешкой засветились
очи,
Блеснул зубов жемчужный ряд,
(4)
Arms
Я хочу, чтобы вечно глядела луна
прекрасных,
На твои обнаженные руки (486)
Да, в хищной силе рук
В очах, где грусть измен,
Весь бред моих страстей
напрасных,
Моих ночей, Кармен! (9)
Kisses
Ты—вдремоте любви, я целую глаза
плеча. (7)
И целую тебя я в
9
Я люблю целовать тебя так горячо
В эту ямочку около шейки…
Ты уснула опятьж я целую глаза (486)
Not forgotten
И я прочту
в глазах и в яркости ланит,
надеждой сладкой,
Что все-таки сбылись несбыточные грезы,
Да, я томлюсь
Что ты, в чужой стране,
Что все-таки тобой я не был позабыт. (473) Что ты, когда-нибудь,
украдкой
Помыслишь обо
мне...(9)
Nabokov makes no allusion to Blok's Carmen cycle, or to gypsies, but the parallels, especially the
final syntactic one above, suggest that he had specifically Blok’s Carmen poems in mind and,
possibly partly consciously, used some of their intonations to render his feelings of betrayal by
Liusia.
Maria Malikova has shown how Conclusive Evidence and Drugie Berega omit chapter 11
of Speak, Memory, with its emblematic pavilion, the circle of index references, and the fuller
portrait of Tamara. Like the “Poems,” “[t]he Russian text of the ‘Tamara’ chapter is much closer
to the perception of Nabokov the sixteen year-old youth, that is, romantic and idealistic, in
distinction to Speak, Memory…The erotic subtext is absent in the early versions.” xxiii Malikova
shows that Nabokov’s construction of Tamara in Speak, Memory becomes more artifice, less
memoir. But in distinction to Conclusive Evidence and Drugie Berega, the early poetry does
emphasize the erotic aspect of the affair (bared arms, neck kisses, love doze).
Nabokov, then, having intentionally omitted the (obviously crucial) erotic element in the
account of his first love from the early versions of his memoir, restored it in the 1960s,
embellishing it with the Carmen theme and its Blokian associations. This is the kind of treatment
of Blok’s poetry that Alexander Dolinin describes in “Nabokov and Blok.” As he says of the
Blokian bogs that conclude the scene of Nabokov’s last meeting with Tamara on the train,
Nabokov creates an intersection of the “‘thematic design’ of the fate of the young poet with the
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life and poetry of Blok,” possibly altering the chronology to do so (331). Dolinin suggests that
Nabokov overcame his “anxiety of [Blok’s] influence” once he made the transition from poetry
to prose in the late 1920s, and was able to assess his own relationship to Blok’s poetry (335). That
creative distance allowed Nabokov to begin to associate Blok’s poetry with, for example, Ganin’s
parting from Mary in the prose treatment of his own affair with Shulgina, and he continues to
incorporate it into Lolita and Ada.xxiv Dolinin identifies “Incognita “ (Neznakomka) as one of
Nabokov’s recurring references to Blok; the Carmen cycle should be added to the system he
describes, because, while the references to the figure of Carmen in Nabokov’s novels require only
a knowledge of Mérimée’s Carmen to be intelligible for, say, Humbert’s purposes, recognizing
Blok’s Carmen as part of Nabokov’s depiction of his own struggle to overcome nostalgia for his
erotic past adds more than an autobiographical dimension. It allows us to understand Humbert’s
pedophilia as a perverse variation of Nabokov’s fixation on his first love and the world associated
with her.
The Liusia-Carmen theme is about sexual obsession, and in his mature works, Nabokov
connects it particularly to Lolita and Ada. Carmen has no place in The Gift, where Nabokov
connects the growth of the poet’s art to Zina, and substitutes his second love for his first,xxv or in
The Real Life of Sebastian Knight, which treats the transition to an Anglophone frame of
reference. Nabokov links Sebastian’s last love, Nina, not to Blok and Carmen but to the Persian
princess tale and its reappearance in an American story.xxvi Nabokov juxtaposes femme fatale
figures (in varying degrees of parodic garb) to an idealized, desexualized helpmeet of the
Zina/Clare type who clearly refer to Nabokov’s wife, Vera Evseevna Slonim.xxvii Dominique
Desanti quotes Marc Slonim’ characterization of Nabokov’s relationship with Irina: “Irina
Guadanini est un violent, un aveuglant entrainement sensual. Vera et plus proche de Vladimir
Nabokov qu’aucun etre humain ne l’a jamais été.”xxviii Nabokov removes Liusia entirely from The
Gift, and while Zina is associated with Blok’s “Nezkankomka” Carmen is entirely absent.xxix As
Sebastian Knight’s letter writer puts it in Lost Property, implicitly referring to Clare, “you were
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the pure love…this other passion is but a comedy of the flesh” (111).
Dolinin has written of the two kinds of love Nabokov had for Russian and English:
…Nabokov’s relations with the two languages were, in fact, as different as different kinds
of love, eros, on the one hand, and agape and philia, on the other. His love for the English
language was, no doubt, erotic and self-serving; as his own metaphor goes, he carried on a
love affair with it. For Nabokov, English, a semi-foreign language, remained like a
beautiful, desired other whom the suitor tries to charm, to seduce, to possess but can never
fully attain…
As for Russian, the [sic] exile taught Nabokov to thrive within it, to draw sustenance
from it, and to love it selflessly [as one loves only one’s parents or God (inserted from the
Russian version of this passage—we Americans can take it--PM)]…for the life-giving and
soul-giving gifts.xxx
Nabokov met Vera in Berlin in 1923; as Dolinin says, Shulgina remains “the
personification of the real object of nostalgia, the sign of irretrievable loss,…the
poeticization of the image of Home preserved in his memory…”xxxi Thus Humbert’s love
for Lolita is a parodic version of Nabokov’s nostalgia as well as of the Freudian
traumatic experience: Humbert is a pedophile, acting out Nabokov’s obsession with his
Annabel Lee, a frozen-in-time and tome Carmencita, an obsession that can never be
assuaged, even with the palliative of art.
Maria Malikova shows how Nabokov “selects motifs that have been poetically
formulated by Blok” and “tunes them with ‘Pushkin’s tuning fork’” to relieve the
personal anguish of his father’s death.xxxii He does the same in Lolita in his treatment of
the loss of Liusia, underscoring the association of Mérimée’s (and invisibly Blok’s)
“Carmen” with Pushkin’s “The Gypsies” when Humbert imagines Lolita plotting with
Mary Lore “in Basque and Zemfirian.”xxxiii Humbert is metaphorically what Nabokov
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would be if he allowed his nostalgic love of Liusia to determine his present life. Dolinin
makes this point about (an ambiguous in Russian) Annabel “Lee/Leigh” in speaking
about Ganin and Mary:
Ganin grieves not so much over the loss of his beloved…(a motif parodied in the
story of the childhood love of the hero of Lolita for the beautiful Annabel Leigh)”
as over the loss of place and time—for the condition of ‘trembling happiness’ he
had in his youth.xxxiv
Humbert’s longing is for a composite of girl (Leigh) and poem (Lee), as Nabokov’s is for
Liusia and all that is associated with Blok.xxxv
Finally, we return to VN’s infatuation in Speak, Memory with ten year-old Colette—
why is she the first character explicitly related to Carmen? The Biarritz setting motivates
the Basque association and the idea of running off to the mountains (in the direction of
Spain). Nabokov and Colette do run away, to the cinema, where they watch a “highly
exciting bullfight at San Sebastian” (151) (Spanish Basque territory just over the French
border), before being apprehended by his tutor. Nabokov’s earliest erotic experiences,
thwarted as Humbert’s were with Annabel, are with the French ten year-old. Nabokov
connects his beach love for Colette to Tamara, with whom he “bathed in a fairy tale cove”
(240), presumably more successfully than Humbert and Annabel, who escape to the beach and are
interrupted in their attempt to make love “in the violet shadow of some red rocks forming a kind
of cave” (13). Humbert’s Annabel Leigh, then, is a composite of Speak, Memory’s Tamara
and Colette. Colette is associated with Carmen in the first version of the memoir
Conclusive Evidence as a stand-in for the absent erotic material connected with
Tamara/Carmen, while representing a childhood passion.
Nabokov’s pseudonym for Liusia, Tamara, seems to refer to Lermontov’s poem, “The
Demon,” signaling a romantic naïveté. The name has a more personal, erotic association for
13
Nabokov. In a letter to his Tenishev school friend, Samuel Rozov, he recalls their schoolmate,
Evgenii Oks, and his “attractive sister Tamara, who enjoyed [illegible]. Oks was the first to tell
me about the existence of ‘houses where beautiful women give themselves to whoever wants
them.’”xxxvi The editor, Yury Leving, compares this with a passage from Mary: “[A classmate]
told me that there are in the world beautiful women who allow themselves to be undressed for
money.”xxxvii Through this connection the name “Tamara” gains another erotic association with
Nabokov’s high school days, so that Liusia’s pseudonym in Speak, Memory represents a
compendium of the young Nabokov’s first sexual impressions, constructing a kind of
romanticized version of puberty whose poignancy is heightened by the loss of Vyra, Petersburg,
Blok.
Nabokov connects a jasmine motif to the Carmen cluster. In Speak, Memory Nabokov
associates Tamara with jasmine bushes: walking his bicycle up the final stage of his trip from the
Rozhestveno highway to the portico of his uncle’s house where Tamara awaits him, Nabokov
passes through “a footpath among dripping jasmine bushes” (233). He connects jasmine to Blok
in the passage mentioned above describing their final meeting on the train:
It can be proved, I think, by published records that Alexander Blok was even
then noting in his diary the very peat smoke I saw…There was a later period in my life
when I might have found this relevant to my last glimpse of Tamara as she turned on the
steps to look back at me before descending into the jasmine-scented, cricket-mad dusk of
a small station; but today no alien marginalia can dim the purity of the pain (241).
Nabokov associated jasmine with hidden orchids--the female and the male conjoined--in
his poem from the 1916 collection about the flowers that surround the lovers’ encounter (along
with suggestive diereses):
Зовут влюбленного гвоздики;
Зовут вербены мотыльков;
Играют солнечные блики
14
В траве под зеленью дубов.
В ясмине прячут орхидеи
Свои лиловые цветы…
По узкой розовой аллее
Идешь ко мне на встречу ты.
Поникли бедные гвоздики…
Жасмины тронуты тоской…
И даже солнечные блики
Бессильно блекнут пред тобой… (467)
That the flower appears in Mérimée’s “Carmen” may of course be mere coincidence: “in
her hair she had a large bunch of jasmine, the petals of which at night exude an intoxicating
scent” (19). But Nabokov’s nightly passages through a thicket of dripping jasmine on his way to
his trysts with Liusia would have enhanced the scent’s memorable erotic associations by yet
another connection to Carmen.
This is the theme of Ada: Van Veen’s grotesque erotic fixation on his first passion for the
twelve year-old Ada, distorted by the passage of time. Like Pushkin’s muse who has become
Tatyana by ‘the great/fourth stanza of your chapter eight,” Ada is the next incarnation of
Nabokov’s love for Liusia, but unlike Tatyana, the love has not evolved, and is only partially
requited. In this version too, Nabokov connects early adolescent sexuality to the Carmen theme
and the jasmine motif; both occur only in Book I, chapters 5, 8, 20, 34, and are associated with
Ada and Blanche. (Blanche is a version of Speak,Memory’s Polenka, the first girl to cause
Nabokov’s wet dreams: Van “deliberately endeavored to prolong the glow of its incognito by
dwelling on the last vestiges of jasmine and tears in a silly dream” (123).The “smithy smothered
in jasmine” in Blanche’s home village, Torfyanka (35), is related to Polenka’s having married a
blacksmith (SM, 210). Polenka isolates the purely erotic element in Speak, Memory as Blanche
does in Ada). Ada with her botanical and entomological zeal would have been a more appropriate
15
match than Liusia for Nabokov. Ada is an intellectually improved version of Liusia, though just
as faithless; she is the next stage in the evolution of VV’s continual recasting of his early erotic
experience, distinguishing and reconfiguring elements of lust and enchantment from increasingly
distant points in time, from which the lust looks ever more grotesque.
Van Veen’s erotic excesses increase throughout his life as he tries to assuage his longing
for his first love. That this is the next variation on Liusia and the Carmen theme is signaled by
references to the gitanilla, Dolores. On the Admiral Tobakov Van watches the film, “Don Juan’s
Last Fling,” in which Ada plays the gypsy:
She was absolutely perfect, and strange, and poignantly familiar. By some stroke of art, by
some enchantment of chance, the few brief scenes she was given formed a perfect
compendium of her 1884 and 1888 and 1892 looks.
The gitanilla bends her head over the live table of Leporello’s servile back to trace
on a scrap of parchment a rough map of the way to the castle. Her neck shows white
through her long black hair separated by the motion of her shoulder. It is no longer another
man’s Dolores, but a little girl twisting an aquarelle brush in the paint of Van’s blood, and
Donna Anna’s castle is now a bog flower. (489)
Don Juan’s Last Fling merges Mozart’s Don Giovanni (Leporello, Donna Anna) with Bizet’s
Carmen (the Gypsy girl) and Lolita (Dolores), each with Pushkinian echoes. Blok’s “Carmen” is
present but would be invisible, if not for Nabokov’s associating Lucette with “Neznakomka.”xxxviii
The film of Ada playing the Gypsy Dolores collapses time for Van; for Nabokov. the composite
Carmen-Lolita-Ada is an evolving image of Liusia. great! Nabokov’s memory is transmuted into
successive creations, but Van is stuck on memories of erotic bliss, so that everything which
should give rise to poetry results in harlotry and death:
[Lucette] would build for him, in the park, several pavilions to house his successive
harems, they would gradually turn, one after the other, into homes for aged ladies, and then
into mausoleums. (477)
16
The pavilion as site of first love and first poem mythologized in Speak, Memory houses mortal
women, indistinguishable by Van, for whom they become simply useless by aging, dying. Liusia
is fixed in the memoir, costumed, invisibly to the reader, as a gitanilla in Nabokov’s memory,
giving her the only immortality that he and she can share.
Understanding Lolita and Ada as Nabokov’s road not taken underscores his struggle
against not only obsessive nostalgia, but his regret at the loss of eros (last fling) even as he
employs his longing for the intensity of his first love as a source of artistic inspiration. Dolinin
writes that Mary “condenses all the nostalgic recollections that fed the lyricism of his youth and
at the same time outgrows them.” xxxix This obtains in the aesthetic sphere. Cincinnatus’ words
express the personal experience: “[Y]ou express it, you excise it, and it grows back worse than
before.” xl
i
Ernest Dowson, “Non Sum Qualis Eram Bonae sub Rego Cynarae,” An Anthology of World
Poetry, ed. Mark van Doren (New York: Halcyon House, 1928), 1264-65. Dowson was friends
with William Butler Yeats and Aubrey Beardsley, revered Poe, Baudelaire and Verlaine, and
influenced Yeats and Rupert Brooke (who claimed to have committed most of Dowson’s work to
memory).
ii
Philip Healey, “The Tragic Generation: some writers of the 1890s,” Oxford University
(www.conted.ox.ac.uk/courses/qm2/speakers/Healy_Philip/Healy_Philip_Lecture_Notes.pdf),
15-17.
iii
Maria Malikova, V. Nabokov. Avto-bio-grafiia, Peterburg: Akademicheskii proekt, 2002. Don
Barton Johnson gives an amusing example of how Nabokov assimilates both a poet and his
poetry into his own work—Nabokov read Rupert Brooke’s poem, “At the Exam,” and imitated
Brooke’s behavior by writing a poem during an exam (“Vladimir Nabokov i Rupert Bruk,” Pro et
Contra, Vol. 2, ed. V. Averin (Peterburg, 2001) 449-470, 463-4).
17
iv
This calls into doubt Appel’s suggestion that the Carmen references in Lolita are solely to
Mérimée’s story (Alfred Appel, Jr., The Annotated Lolita, 358, note 45/3; all references to Lolita
are to this edition). Dmitri Nabokov affirms Nabokov’s love of the opera: “…he was very fond,
for example, of Bohème and Carmen, where the composer respected the librettist and the librettist
respected the novelist, the sum being touching and expressive music,” NABOKV-L, October 27,
2006.
v
Nora Buks, “Opernye prizraki,” V. V. Nabokov: Pro et Contra, Vol. 2, 328-344, discusses the
operas “Orpheus” and “Parsifal” in Nabokov’s work, but not “Carmen.”
vi
V. Nabokov, Drugie berega, Sobranie sochinenii russkogo perioda (Peterburg: Symposium,
2000), vol. 5, 242.
vii
Aleksandr Dolinin, Istinnaia zhizn’ pisatelia Sirina, Peterburg, 2004, “Nabokov i Blok,” 337
(see also 327). All translations mine, unless otherwise noted. Dolinin does not say how “Little
Carmen” relates to “Carmen.”
viii
Interview with Alvin Toffler, for Playboy, January, 1964 (Vladimir Nabokov, Strong
Opinions [McGraw-Hill International, 1973], 42-3). Aleksandr Dolinin, Istinnaia zhizn’ pisatelia
Sirina (St. Petersburg: Akademicheskii proekt, 2004), 12-13, considers that Nabokov knew Blok
only superficially before emigrating. Vladimir Alexandrov, Nabokov’s Otherworld (Princeton,
NJ: Princeton University Pres, 1991) 215-16, discusses Blokian subtexts in Nabokov’s poems
from the early 1920s.
ix
Interview with Herbert Gold, 1966 (Vladimir Nabokov, Strong Opinions [McGraw-Hill
International, 1973], 97.
x
Aleksandr Blok, Sobranie sochinenii, 8 vols. (Moscow-Leningrad, 1960), VIII, 615.
xi
Ibid, III, 577.
xii
Maria Malikova, “V. V. Nabokov and V. D. Nabokov: His Father’s Voice,” Nabokov’s World,
2 vols., ed. Jane Grayson, Arnold McMillin, and Priscilla Meyer (Palgrave, 2002), II, 23; Galya
18
Diment, “Nabokov’s Biographical Impulse,” The Cambridge Companion to Nabokov, ed. Julian
W. Connolly (Cambridge: Cambridge University Press, 2005), 170-184, 175.
xiii
Gerard de Vries and D. Barton Johnson have shown how important visual representation was
for Nabokov’s verbal portraits in Nabokov and the Art of Painting (Amsterdam: Amsterdam
University Press, 2006).
xiv
Dmitri Nabokov agreed that there is a resemblance when shown a photograph of Del’mas,
although he changed his mind after closely inspecting photographs of Shulgina (e-mail
correspondence of 9/7/06 and 9/10/06). Ambiguous, but significant.
xv
Vladimir Nabokov, Mary (McGraw-Hill International, 1970), 46, 73, 102; 57.
xvi
Liubov’ Aleksandrovna Del’mas (1884-1969). Her maiden name was Tishinskaia, her married
name Andreeva and her stage name Del’mas. A mezzo soprano, she studied at the Petersburg
conservatory (1898-1905).
xvii
A. Blok, Ss, VIII, 433 (translation mine). The affair is recounted in detail in Avril Pyman, The
Life of Alexander Blok, 2 vols. (Oxford: Oxford University Press, 1980), V. 2, 202-11.
xviii
A. Blok, Ss, VIII, 435; letter of March 11, 1914.
xix
Ibid, VII, 420, May 23, 1921.
xx
Alexandr Dolinin, “Nabokov i Blok,” 333, who cites in turn Gleb Struve’s examples of this in
Russkaia literature v izgnanii, 2nd edition, Paris, 1984, 168-9.
xxi
The poems are quoted from V. V. Nabokov, Stikhotvoreniia, ed. M. E. Malikova, Peterburg,
2002 and denoted by page numbers from that edition.
xxii
Blok’s poems are cited from SS, III, 227-39, and denoted by position in the cycle.
xxiii
Maria Malikova, “‘Pervoe stikhotvorenie’ V.Nabokova, Perevod i kommentarii,” Pro et
Contra I, ed. B. Averin, St. Peterburg, 1997, 741-771, 768.
19
xxiv
Alexandr Dolinin, “Istinnaia zhizn’ pisatelia Sirina: pervye romany,” Sobranie sochinenii
russkogo perioda v piati tamakh, St. Peterburg, Symposium, 1999, II9-41, 9-10, and “Nabokov i
Blok,” 332-337.
xxv
Vladimir Nabokov, The Gift, Vintage. “I met her in June 1916. She was twenty-three.
Her husband…was at the front.” (149).
xxvi
Nathaniel Hawthorne’s “Rappacini’s Daughter.” See Priscilla Meyer, “Life as Annotation:
Sebastian Knight, Vladimir Nabokov, Nathaniel Hawthorne,” Cycnos, The Third International
Conference on Nabokov in Nice, ed. Maurice Couturier, forthcoming.
xxvii
Clare and Zina say the same words to their writer mates, referring to paired
languages: “ You can’t say it so in English” (RLSK 83); “…I’m not sure you can say it like
that in Russian” (Gift, 204).
xxviii
Dominique Desanti, Vladimir Nabokov, Paris: Editions Julliard, 1994, 36.
xxix
Vladimir Nabokov, The Gift, Vintage, 149-50; 177.
xxx
Alexander Dolinin, “Nabokov as a Russian Writer,” The Cambridge Companion to Nabokov,
ed. Julian W. Connolly (Cambridge: Cambridge University Press, 2005), 49-64, 55. Dolinin plays
his own Russian/English game in responding to Michael Wood’s comment in his “well-meaning
and well-received book” (54) that “Perhaps one cannot love two languages.” (cf. Istinnaia zhizn’
pisatelia Sirina, 8).
xxxi
Alexandr Dolinin, Istinnaia zhizn’ pisatelia Sirina, 12.
xxxii
Maria Malikova, “V. V.Nabokov and V. D. Nabokov: His Father’s Voice,” Nabokov’s World,
ed. Jane Grayson, Arnold McMillin and Priscilla Meyer (London: Palgrave, 2002), 2 vols., II, 1526, 23.
xxxiii
Vladimir Nabokov, The Annotated Lolita, ed. Alfred Appel Jr., (New York: Vintage, 1991),
243. Carl Proffer, Keys to Lolita (Bloomington, IN: Indiana University Press, 1968), 45-53, 49
20
was the first to discuss the Carmen and Pushkin connections; see 144 n.85, citing L. Kogan,
“Pushkin v perevodakh Mérimée,” Vremennik Pushkinskoi komissii 4-5 (Moscow-Leningrad,
1939), 331-56. Nabokov recognized that the librettists of Bizet’s opera, Meilhac and Halévy, took
lines from Pushkin (Commentary to Eugene Onegin, III, 156). See David A. Lowe, 19th Century
Music, vol. 20, no. 1, pp. 72-76, Summer 1996, 74, note 19.
xxxiv
Alexandr Dolinin, “Istinnaia zhizn’ pisatelia Sirina: pervye romany,” Sobranie sochinenii
russkogo perioda v piati tomakh, St. Peterburg, Symposium, 1999, II9-41, 11.
xxxv
Vladimir Alexandrov, op. cit., 217, sees in Humbert’s love for Lo a parodic treatment of
Blok’s themes of the “beautiful lady” or “the stranger.”
xxxvi
Yury Leving, “Pis’mo S. Rozovu. Palestinskoe pis’mo V. Nabokova,” V. V. Nabokov, Pro et
Contra, T. 2, (Peterburg, 2001), 12-33, letter of September 4, 1937, 19.
xxxvii
xxxviii
xxxix
Ibid, 27.
Alexandr Dolinin, “Nabokov i Blok,” 332.
Alexandr Dolinin, Sobranie sochinenii russkogo perioda, 5 vols. “Istinnaia zhizn’ pisatelia
Sirina,” V. 2, 16.
xl
Vladimir Nabokov, Invitation to a Beheading (New York: Vintage, 1989), 194.